Generative Topic.

Topics that are interesting to both students and teacher and have the capacity to generate further learning by stimulating questions, thinking,
discussion, activity, curiosity, and creativity and that enable students to make connections with what is important within a topic or field of study (e.g. music).
Generative Topic: How are musical elements present in a piece of music?
Unit Title (Based on a Generative Topic):
Music Elements in Music Performance
Synopsis. Summarizes the unit (i.e. the unit in a nutshell) and lists the
Culminating Activity/Products.
following information:
Briefly describe the culminating activity and products (e.g. a composition,
a. Central focus, theme, topic, big idea, generative topic;
performance, recording) explaining how these are authentic performance
b. Grade, musical program of study (i.e., band, orchestral, guitar, etc.);
tasks and how they bring the unit to an appropriate closure.
c. Time allotment (minutes/hours/periods) for the unit; and
d. Rationale explaining its relevance to achieving the aims and goals of the
provincial music curriculum.
Synopsis:
Culminating Activity/Products:
This unit will focus on key musical elements such as: rhythm, melody, scales,
Final performance- this will be the final assessment for the class and is
pitch, time signature, etc. We will learn and perform the piece, Tyrannosaurus performance based. They will be asked to choose their favorite 4 measures of
Rocks! Focusing on the musical elements that it is composed of. There will be the piece and certain elements will need to be included as well. They will be
a number of assessments throughout the unit to further learning about the
given class time to practice their selected measures. Students can either send
given topic. By the end students will have a basic understanding of theory and in a recording or do a 1 on 1 performance with me. This final assessment will
how it is involved in composing music.
also be graded with a rubric created by the entire class and myself.

Aim/big idea. A concept, theme or issue that gives meaning and connection to facts and skills and leads to deeper understandings and appreciations. Based on a
generative topic.
Aim/big idea: By the end of the unit, students will understand . . . how musical elements compose make up and help to expressively perform a piece of music.
Essential questions. (Two to five per unit) Important, overarching, thought-provoking questions that guide the inquiry throughout the unit.
Essential questions:
1. How does learning theory elements help us further understand music?
2. How can we perform a piece to its full potential?

Desired Results/Learning Outcomes (Scope & Sequence)

General & Specific Musical Learner Expectations/Outcomes
Unit Learner Expectations (Goals)
By the end of the course students will . . .
By the end of the unit, students will be
able to . . .

Assessment/Evaluation (i.e.
assessment of learning)

GLE/GLO: 1
Playing- to discover, develop, and evaluate their talents and abilities relative to playing a musical instrument, and to establish and reinforce correct techniques
and skills.
SLE/SLO: 1.1
ULE: 1.1.1 Students will match the
I will formatively assess their
Recognize and perform accurately in the key of Bb.
tuning note of concert Bb major.
playing and tone quality.
ULE: 1.1.2 Students will play up and
I will formatively asses their
down the scale through memory.
playing and understanding
throughout.
SLE/SLO: 1.2
ULE: 1.2.1 Students will contrast
I will formatively assess their
Perform two dynamic levels demonstrating crescendo and decrescendo.
dynamics in their playing.
performance.
ULE: 1.2.2 Students will perform a
I will formatively and summatively
selected change in dynamic.
assess their performance.
SLE/SLO: 1.3
ULE: 1.1.1 Students will identify a
I will formatively assess their
Identify and perform phrases, achieving musical sensitivity through stylistic
phrase in their music.
performance.
practices such as: development of intensity, adding flexibility of tempo, and
ULE: 1.1.2 Students will use dynamics I will formatively assess their
adding dynamic contrast to repeated phrases or figures and extended passages
to contrast repeated phrases.
understanding and summatively
or selections.
assess their performance.
GLE/GLO: 2
Listening- to develop the ability to make aesthetic judgment based on critical listening and analysis of music.
SLE/SLO: 2.1
ULE: 2.1.1 Students will identify time
I will formatively assess their
Recognize and interpret meter signatures of: common time 4/4, 3/4, 2/4.
signature changes in their music.
understanding.
ULE: 2.1.2 Students will perform a
I will formatively assess their
time signature change.
performance.
SLE/SLO: 2.2
ULE: 2.2.1 Students will perform
I will formatively and summatively
Recognize and interpret rhythm patterns in 4/4, 3/4, and 2/4.
contrast rhythmic patterns.
assess their performance.
ULE: 2.2.2 Students will interpret
I will formatively assess their
rhythms through clapping.
understanding.
SLE/SLO: 2.3
ULE: 2.3.1 Students will listen and
I will formatively assess their
Recognize and understand phrasing.
identify phrases in the piece.
understanding.
ULE: 2.3.2 Students will perform
I will formatively assess their

dynamic contrast to identify phrases.

performance.

GLE/GLO: 3
Reading- to interpret rhythm, melody, harmony, form, and expression as they appear in musical notation through both cognitive and psychomotor responses.
SLE/SLO: 3.1
ULE: 3.1.1 Students will identify the
I will formatively assess their
Recognize and understand the function of the following: staff, treble clef, bass
key signature of new pieces.
answers.
clef, flat, natural, ledger lines, accidentals, key signatures.
ULE: 3.1.2 Students will explain the
I will formatively assess their
difference between concert Bb major
answers and understanding.
and Eb major key signatures.
SLE/SLO: 3.2
ULE: 3.2.1 Students will play with
I will formatively assess their
correct articulation.
performance.
Recognize and perform: legato, staccato, accents, articulation patterns.
ULE: 3.2.2 Students will contrast
I will formatively assess their
legato and staccato articulation.
performance.
SLE/SLO: 3.3
ULE: 3.1.1 Students will perform
I will formatively assess their
Perform stylistically the repertoire chosen from various historical periods and
dynamic contrast and phrase markings. performance.
genres.
ULE: 3.1.2 Students will identify and
I will formatively assess their
perform changes in articulation.
performance.
Master List of Major Learning Activities and Experiences
1. Listening to Tyrannosaurus Rocks! by
6. Take part in a performance task.
2. Identifying theory elements in the new piece.
7. Performing Tyrannosaurus Rocks! in Pincher Creek.
3. Understanding the key and time signature of Tyrannosaurus Rocks!
4. Rehearsing Tyrannosaurus Rocks!
5. Rehearse Tyrannosaurus Rocks! with professional clinicians.
SLE/SLO: 3.1
Recognize and understand the function of the following: staff, treble clef, bass
clef, flat, natural, ledger lines, accidentals, key signatures.
SLE/SLO: 3.2
Recognize and perform: legato, staccato, accents, articulation patterns.
SLE/SLO: 3.3
Perform stylistically the repertoire chosen from various historical periods and
genres.

ULE: 3.1.1 Students will identify the

key signature of new pieces.
ULE: 3.1.2 Students will explain the
difference between concert Bb major
and Eb major key signatures.
ULE: 3.2.1 Students will play with
correct articulation.
ULE: 3.2.2 Students will contrast
legato and staccato articulation.
ULE: 3.1.1 Students will perform
dynamic contrast and phrase markings.
ULE: 3.1.2 Students will identify and
perform changes in articulation.

I will formatively assess their

answers.
I will formatively assess their
answers and understanding.
I will formatively assess their
performance.
I will formatively assess their
performance.
I will formatively assess their
performance.
I will formatively assess their
performance.

Master List of Major Learning Activities and Experiences

1. Listening to Tyrannosaurus Rocks! by
6. Take part in a performance task.
2. Identifying theory elements in the new piece.
7. Performing Tyrannosaurus Rocks! in Pincher Creek.
3. Understanding the key and time signature of Tyrannosaurus Rocks!
4. Rehearsing Tyrannosaurus Rocks!
5. Rehearse Tyrannosaurus Rocks! with professional clinicians.

1. Individual instruments
2. Individual music for Tyrannosaurus Rocks!
3. Tyrannosaurus Rocks! score.
4. You tube recordings.
5. Performance task assignment sheet and rubric.

Master List of Materials, Equipment, and Resources

6. Baton
7. Chairs
8. Stands
9. Program of Studies

Special Considerations
Modifications and accommodations for learners with special
Social context issues. How you will address any relevant social context issues
needs/Adaptive strategies. Strategies used to accommodate the needs of
in your planning. For example,
exceptional learners. For example musically gifted, ADD, ADHD, Asperger, or
students unable to dance or perform or listen to patriotic or particular
Tourette Syndrome. Identify and briefly describe the diagnosed condition and
religious music for religious and/or cultural reasons
the strategies you will use to meet the needs of these student and why.
school is a faith-based institution
large number of FNMI students
a large number of ESL students
inner-city issues, etc.
Description of modifications accommodations to be made for learners with
Description of strategies to be used or steps to be taken to address social
special needs/Adaptive strategies in the teaching of this unit:
context issues in the teaching of this unit.
There are no students in this class with an exceptionality that affects their
This junior high school is a catholic school, but I am learning more and more
performance in band. There are a few students with slightly higher behavior
that is mainly a public school. In band class we do not participate in prayers
problems who are in constant need of management. One student is a very good
or anything because that is always first thing in the morning. I have been
musician, but has difficulty reading music. The solution for him is to give him
lucky to have the students that I do, they are very respectful of each other and
the beat or idea for the song and he will keep the tempo and groove for the
all seem to get along. I have not had any social context issues come up and I
entire piece, he also watches for cues on when to cut off. The students with
do not see any approaching. There is a mixture of cultures in this class, but
behavior problems are reminded of the expectations of learning behavior and
being an inner city school they are all aware of the different cultures and they
they respect them. If there was a student with ADHD I would make sure the
all get along extremely well. If there were ever an issue in regards to the
lesson was fast paced and all the students continually involved, so they did not
difference in culture I would make sure that it was dealt with in private and
get bored and there are no other distractions in the room. To keep the students
that other members of the school community were brought in, especially since
on track and focused I will call on sections or say their individual names when
I do not know a whole lot about this kinds of issues.
they are becoming distracted. Knowing their names is a good strategy because

they seem surprised that you know who they are and tend to stay on task more
often. If matters got worse I would ask them to talk with me individually after
class.

Lesson

Topic

Summary of Lessons
Learning Objectives
Assessment/Evaluation
By the end of this lesson TSWBAT . . .
1. Identify the structure and rhythms of
1. We will discuss at the
Tyrannosaurus Rocks!
beginning of class, and after
2. Identify and play accurately the Bb
we listen through the new
concert scale.
piece.
3. Play with considerable contrast 2. I will formatively assess
their understanding of the
between dynamic markings.
key signature and their
playing.
3. I will formatively assess
their playing.

Tyrannosaurus
Rocks!

Expression

1. Play with considerate dynamic

contrast between sections.
2. Play with correct articulation.
3. Play with balance in the
melodic figures

1. We will discuss the

sections that change in
dynamics, and I will assess
their playing.
2. I will formatively assess
their playing and
understanding.
3. I will formatively assess
their playing.

Run through

1. Play through the entire piece

1. I will formatively assess

Learning Activities/ Instructional Strategies

1. Students will listen to the piece while following
along on their individual parts. After we listen I will
ask each section to tell me one element they notices
(i.e. dynamic markings, rhythms, difficult passages,
etc.)
2. I will ask the students what key signature the
piece is in and how we recognize and play that.
3. We will rehearse sections of the piece containing
dynamic contrast. If it tends to be difficult we will
hold the concert Bb pitch and move from loud to
soft dynamics to practice moving through the range.
1. We will begin a discussion about what dynamics
are present in the piece, and where there are
changes that occur. After we will rehearse those
sections, paying attention to the changes that is
happening.
2. I will write a definition on the board to help their
understanding. Then I will ask the students for
examples, and analyze sections in the piece where
there is articulation.
3. I will explain how listening to the center of the
ensemble in order to obtain balance, and we will
rehearse on concert Bb listening to the center.
1. We will discuss the theory elements in our piece

of a piece.

of with expression.
2. Develop balance throughout
the ensemble.

their playing.
2. I will formatively assess
the playing of the ensemble.

Tyrannosaurus
Rocks!

1. Play through Tyrannosaurus Rocks!

With correct articulation.
2. Identify their favorite four measures to
perform.

1. I will formatively assess

their playing.
2. I will formatively assess
their choices and
understanding of task.

Performance task.

1. Stylistically perform four measures

containing theory elements.

1. I will formatively assess

their playing.

and how we play them properly to play with

expression. We will then rehearse the piece,
focusing on playing the theory elements correctly to
create expression.
2. Students will be told to listen for balance, and to
do this by listening to the center of the ensemble.
1. As a class we will go over what articulation is
and go over more examples. I will ask the students
to point out areas in the piece where there is
articulation. Repetition of these elements is
necessary for this class.
2. I will go through the rubric and assignment sheet
with the class. They will know all the expectations
of what to do and how they will be assessed. I will
answer any questions they have and make sure to
clarify any confusion.
1. We will go through the expectations for the
performance task and how to be respectful to those
who are playing. We will then go through everyone
in alphabetical order to do his or her test.